'La Dolce Vita' is a film which very noticeably showcases Fellini's transition from his neo-realist roots to the outrageously surrealist style of filmmaking which became his quintessential style later labeled with the word 'Felliniesque'. This is a really, really interesting film. 'Interesting' in the way that although I absolutely understand its appeal, its richness and its philosophical depth, but I can't help but feel a sense of emotional detachment and sense of boredom every time I watch the film. The funny thing is, the emotional detachment is very much deliberate because Fellini clearly wants the viewer to be kept at a distance reflecting Marcello's constant sense of alienation from his surroundings.
I read somewhere once (which I agree with) that 'La Dolce Vita' is a reverse retelling of Dante's 'Divine Comedy' since in this case, the protagonist makes the journey from heaven to hell in the thematic sense as is very overtly symbolised in the opening as well as the ending scenes which act as mirror images to each other in the way they both use Christian imagery as well as a gap in communication(in the opening scene Marcello can't be heard, while in the closing scene it is Marcello who can't hear someone else's words). 'La Dolce Vita' uses such Christian imagery and thematic expressions to reflect the hollow state of existence in the midst of the rampant consumerism and materialism during the economic boom of urban Italy during the late 1950s and early 1960s. The superficiality of the shallow life in urban Italy at the time is very explicitly depicted in the film, again very overtly symbolised by the constant presence of the paparazzi that suffocates most scenes. It is a film that clearly makes fun of the aristocratic class as well as the upper elites and socialites with the ridiculous loudness and extravagance, but every little vignette in the film also includes moments of silence which juxtapose the over-the- top loudness. It is in these moments of silence that Fellini spells out the loneliness and pointlessness of their lives. The central character of Marcello is a tabloid journalist who is leading his life in the most passive manner possible. He is constantly on the search for something or someone(Steiner or the women) that will show him that secret happiness and sense of fulfillment. But unfortunately that secret, that magical spiritual connection constantly eludes him throughout the film. The cinematography is absolutely spectacular. The black & white visuals are incredibly vibrant, the use of lighting is absolutely meticulous and the frame compositions are extremely visually appealing. Marcello Mastroianni's performance is brilliant as he perfectly captures the passive nature of his character with spurts of emotions from time to time. What keeps me from completely embracing the film is what I have already mentioned is actually deliberate. 'La Dolce Vita' deliberately uses excess. The debauchery goes on an on, one segment after another. Just like Scorsese does in 'The Wolf of Wall Street', Fellini uses decadence, excess and debauchery in a very repetitive, almost oppressive and unsubtle way. Now even though I can understand what it signifies and I can also understand why the 7 day sequence might have been essential in the narrative if the 'Divine Comedy' structure was being rigidly implemented, but every time I watch 'La Dolce Vita', I can't help but feel a little bored by the monotony of the circus- like visuals and the 3 hour length of the film adds to the overbearing boredom.
I read somewhere once (which I agree with) that 'La Dolce Vita' is a reverse retelling of Dante's 'Divine Comedy' since in this case, the protagonist makes the journey from heaven to hell in the thematic sense as is very overtly symbolised in the opening as well as the ending scenes which act as mirror images to each other in the way they both use Christian imagery as well as a gap in communication(in the opening scene Marcello can't be heard, while in the closing scene it is Marcello who can't hear someone else's words). 'La Dolce Vita' uses such Christian imagery and thematic expressions to reflect the hollow state of existence in the midst of the rampant consumerism and materialism during the economic boom of urban Italy during the late 1950s and early 1960s. The superficiality of the shallow life in urban Italy at the time is very explicitly depicted in the film, again very overtly symbolised by the constant presence of the paparazzi that suffocates most scenes. It is a film that clearly makes fun of the aristocratic class as well as the upper elites and socialites with the ridiculous loudness and extravagance, but every little vignette in the film also includes moments of silence which juxtapose the over-the- top loudness. It is in these moments of silence that Fellini spells out the loneliness and pointlessness of their lives. The central character of Marcello is a tabloid journalist who is leading his life in the most passive manner possible. He is constantly on the search for something or someone(Steiner or the women) that will show him that secret happiness and sense of fulfillment. But unfortunately that secret, that magical spiritual connection constantly eludes him throughout the film. The cinematography is absolutely spectacular. The black & white visuals are incredibly vibrant, the use of lighting is absolutely meticulous and the frame compositions are extremely visually appealing. Marcello Mastroianni's performance is brilliant as he perfectly captures the passive nature of his character with spurts of emotions from time to time. What keeps me from completely embracing the film is what I have already mentioned is actually deliberate. 'La Dolce Vita' deliberately uses excess. The debauchery goes on an on, one segment after another. Just like Scorsese does in 'The Wolf of Wall Street', Fellini uses decadence, excess and debauchery in a very repetitive, almost oppressive and unsubtle way. Now even though I can understand what it signifies and I can also understand why the 7 day sequence might have been essential in the narrative if the 'Divine Comedy' structure was being rigidly implemented, but every time I watch 'La Dolce Vita', I can't help but feel a little bored by the monotony of the circus- like visuals and the 3 hour length of the film adds to the overbearing boredom.